Ta-DA!!!! Here's your first recording of the semester. It's...not great. BUT!! BUT!!!!!! You're going to come up with a plan for how to fix it. After listening to today's recordings, submit (either here or written) a plan for how you are going to approach these three pieces. BE SPECIFIC if you want full credit!
Thailand
Mabel Creek
Ahlan Sabaya
Thailand - The biggest things that I feel need work is dynamics and articulation, specifically accents. With the dynamics, the problem is needing to be louder and sound more confident. The accents are not being played at all. With time, the confidence issue will go away and the music will get louder the more I practice. The accented parts, specifically from measures 32-41, will be getting special attention when I practice.
ReplyDeleteMaple Creek - I need to work on the accidentals and the accents scattered throughout the piece. I think that the accents will come with time, but the accidentals will take special attention.
Ahlan Sabaya - I will need to work extensively on some of the rhythms, particularly the part from 26-41. They are not hard, but I heard me playing them incorrectly, along with others. Also, I will need to work on the accents, because I could not hear them at all in the recording. Both will come with practicing and taking it slow.
Deshae deans
DeleteThailand: the biggest thing I need to work on in this piece is measures 38 to 41. I also need to work on my counting and measure 96 to 105. and I need to work on measures 127 to the end with the repeat
most importantly I need to work on my accent.
Ahlan Sabaya: in this piece of music I need to work on my counting in all the measures, I also need to work on measures 43 to the end. I also need to work on doing the correct volume of mf ,p, f.
Mabel Creek: in this piece I need to work on my stagger, I need to work on measures 10 to 12 and 14 to 16 which is basically the counting and holding the notes for each measure. most importantly I need to work on measure 61 to 88 and that's with my accent my mento Forte my counting and my slurs.
Thailand: I should listen and count instead of following everyone else because that doesn't work so well for this song. i should probably practice. I need to look up for the tempo changes. Even though the dynamics are highlighted, i don't play the music with dynamics, so i should start that.
ReplyDeleteAhlan: I should play the dynamics and play in the right key. The rhythm and counting for this piece i need to work on. i should subdivide and count and stuff.
Mable Creek: Mable creek has the same rhythm for the most part and i probably should focus on where i am in the music instead of thinking about other things.
Thailand: Count the rests and make sure I play F natural instead of F sharp because I keep on forgetting it's A minor. I also have to make sure I slur and not play the notes individually.
ReplyDeleteAhlan: I have to practice having my eyes go from 57 to 22 immediately.
Mabel Creek: I have to not get too excited and rush from measure 1 to 17 and really identify each note that I'm playing so I don't get lost within the cluster of eighth notes. Also, get my hand ready to play extended 4 for G sharp and back to extended 2 for F sharp.
Thailand: Count the rests and make sure I play F natural instead of F sharp because I keep on forgetting it's A minor. I also have to make sure I slur and not play the notes individually.
ReplyDeleteAhlan: I have to practice having my eyes go from 57 to 22 immediately.
Mabel Creek: I have to not get too excited and rush from measure 1 to 17 and really identify each note that I'm playing so I don't get lost within the cluster of eighth notes. Also, get my hand ready to play extended 4 for G sharp and back to extended 2 for F sharp.
Ahlan: I need to work on my counting throughout the entire piece. The way I'm going to solve that issue is by playing the piece slowly and speed up then I also need to focus on flats and sharps.
ReplyDeleteThailand: I need to play the 8th notes slower and speed up so I can get the fingering right.
Mable creek: the notes trip me up a lot so I need to play the piece slower at a speed I can get the notes right and slowly speed up the tempo.
Ahlan: I need to work on counting and then remembering to watch ms. bawcum in measures like 43-45 so I dont rush. And then bowings on the double stops in 10.
ReplyDeleteThailand: I need to work on the crescendos and decrescendos throughout the piece. I also nee to remember to watch ms. bawcum at times of tempo change along with counting of the notes in 38-39, 48-49, and note fingerings.
Mable Creek: I need to remember the transition back to the beginning at measure 88 along with counting and looking up at ms. Bawcum during tempo changes.
Thailand: I need to work on not playing the violas part during the pizzicato. Also, work on my intonation, the major tempo changes, and work on strengthening my dynamics. Finally, look for you during the ritardundo
ReplyDeleteMable Creek: I need to try not get lost in the repeating rhythms and pay more attention to the double up bows as well. Also, I need to work on not hitting other strings during the col lengo.
ReplyDeleteAlhlan Sabaya: I need to work on not rushing during the beginning of the piece when it's really slow. Also, work on intonation. Finally, work on when to come in the beginning as well
Thailand - The biggest things that I feel need work is intonation and articulation, like accents and making sure my notes aren't flat. With intonation my notes are usually flat so I need to work on my fingering as well. The accents aren't being played at all. The notes will get better and better the more I practice. The accents, more specifically: measures 32-41, will be more focused on when I practice.
ReplyDeleteMaple Creek - I need to work on the accidentals especially in measures: 27-50
Ahlan Sabaya - I will need to work very hard on some of the rhythms, mainly the part from 22-30. They are not hard, but I heard everyone playing them wrong. Also, I will need to work on the dynamics, because I could not hear them at all in the recording. Both will come with practicing and more focus as I continue to play.
Hello my name is Rhian Mann you may know me from your 7th period i sit in front of you. I have listened to the recordings as well as came up with a plan to make them sound fantastically wonderful because right now...not so good.
ReplyDeleteThailand: We need to just count and LOOK UP. To make sure we do not rush especially those long pizz. places.
M.C: i believe this sounds the best right now. We need to get the dynamics down to make it sound even better and more Maple Creek-y..
Sabaya: Definitly counting and intonation.
Rhian MacNeal Mann 7th Period (a.k.a. the best period)
Thailand: I need to focus on intonation and playing precisely to the metronome, especially in measures 96 - 105. I also need to remember if it's the first or second ending, and make my dynamics stronger.
ReplyDeleteAhlan: I should try to learn how to play vibrato, and during measures 34 - 42 I have to actually count and not get caught up in the sixteenth notes.
Maple Creek: I have to learn how to play the right bowing rhythm because I sometimes forget and my bow does not match everyone else's. In measure 21 I also have to remember to go to the coda and not keep playing. In the col legno part I have to refrain my bow from going all over the place and not playing the right string.
Thailand:articulation. We need to work on the slaps in 7-13 Work on the 36-37. Get tempo change right in 77. Also balence in 105-116. Lastly finishing strong
ReplyDeleteMable: articulation staying together in 1-16. Switching to the coda needs to be a lot cleaner dynamics in 6,8,22,56,99 and 108
Ahlan: articulation balence in 1-10. Counting in 10-25. We also need to work on staying together and playing as a group but we are doing really good so far on this Thailand:articulation. We need to work on the slaps in 7-13 Work on the 36-37. Get tempo change right in 77. Also balence in 105-116. Lastly finishing strong
Mable: articulation staying together in 1-16. Switching to the coda needs to be a lot cleaner dynamics in 6,8,22,56,99 and 108
Ahlan: articulation balence in 1-10. Counting in 10-25. We also need to work on staying together and playing as a group but we are doing really good so far on this music.
~~~~~~~~~~~~~~~~~~~~~~~~~~~AUSTIN MCLAUGHLIN~~~~~~~~~~~~~~~~~~~
Thailand: This is the piece that will need the most work based on what we have so far, so I think we need to spend the most time on this, otherwise it could end up extremely messy. We need to focus a lot on balance, such as in measures 50- 58 where the violas have the melody. We need to repetitively work on the transition between tempo changes at measures 20, 32, 50, 77, 96, 127, and 136.
ReplyDeleteAhlan Sabaya: I think this is the best piece so far, considering it is probably the easiest. In my opinion, the expression and musical phrasing will be what will make or break this piece. Since it is a slow tempo with lots of legato parts, the class should focus on making the music very expressive. Many parts call for vibrato (measure 1 and 9) , so I think it would be very beneficial is the class as a whole got a chance to work on this technique so that we could use it in this piece. The dynamics, especially at the beginning, need to be very noticeable, along with the accents such as throughout the section from 22- 46.
Mabel Creek: We need to make sure that everyone does the proper bowing for the sections 1-17 and 105-112. The cellos have extended G sharps that need to be in tune, and intonation overall is always sometime that needs work. We need to extensively play the transitions back to the beginning and then to the coda, so they will not be messy.
Thailand: for Thailand I definitely need to start looking up ESPECIALLY when there is a tempo change. I always forget to look up and that doesn't do anyone good.
ReplyDeleteMabel Creek: I really need to pay attention to the accidental because I never notice them and I always forget to play them.
Ahlan: for Ahlan I really need to work on intonation and the dynamics to make the music actually tell a story
Thailand: for Thailand I definitely need to start looking up ESPECIALLY when there is a tempo change. I always forget to look up and that doesn't do anyone good.
ReplyDeleteMabel Creek: I really need to pay attention to the accidental because I never notice them and I always forget to play them.
Ahlan: for Ahlan I really need to work on intonation and the dynamics to make the music actually tell a story
Thailand: For Thailand I need to look up when the tempo changes. I also need to work on always counting especially in measures 105-115.
ReplyDeleteMabel Creek: I need to make sure to pay better attention in the beginning because if i don't get lost. I also need to hold the longer notes for the full amount of time.
Ahlan: I need to remember to repeat when i'm supposed to and my dynamics need some work.
Thailand: I need to clean up my notes and work on accents & accidentals.
ReplyDeleteMabel Creek: I need to work on going back to the beginning and taking the coda. I could also work on my bowing.
Ahlan: I really need to practice the bowing in measures 34-41.
Fantasia: The reoccurring rhythm in measures 36, 37, 45, and 46 need to be worked on; it's definitely more of a counting problem. Also, when the violas have the melody in measures 50-56, we really need to play out, and work on the intonation here. Lastly, the spicatto in measures 105-113 really need to be counted as we play; there was at least a whole extra measure of notes played at the end of this section.
ReplyDeleteMabel Creek: This piece is fairly easy so there's not much to fix counting and intonation wise. However, the col legno really needs to be worked on, it was a mess the entire time. Also, we need to work on a smoother transition to the beggining of the piece from measure 88. Lastly, the piece sounded very bland; we really need to use more dynamics.
Ahlan Sabaya: We need to work on the intonation and counting from measures 14-22; it's too important to the piece to be played incorrectly. Also, from measures 34-45 it sound like we're playing straight eighth note, so we need to work on the rhythm and counting here. Lastly, we need to practice the knocking in measure 48, until we're comfortable with it.
Thailand - The biggest things that I think needs a lot of work is intonation and articulation, like accents and making sure the notes aren't flat. With intonation my fingers don't hit the right spot some of the time so I need to work on my fingering. The accents aren't being played at all. The notes will get better and better the more we practice.
ReplyDeleteMaple Creek - I need to work on all of the accidentals throughout the piece. Sometimes I don't lay the right notes. I also need to pay more attention to the counting because I get lost sometimes.
Ahlan Sabaya - I will need to work on some of the rhythms, mostly the part from 22-30. Many people were making mistakes in that section. Also, I will need to work on the dynamics, because I could not hear them at all in the recording. Both will come with practicing and more focus as I continue to play.
Thailand: This piece will be the one that requires the most work, due to the difficult rhythms and, "road map". I will need to work on remembering the first and second endings and staying in time with the rest of the section. I will also need to practice playing measure 50 with confidence. I tend to come in rather "shy".
ReplyDeleteMaple Creek: The big thing we need to work on as an orchestra is counting and focusing on not rushing. Since the piece is primarily comprised of eighteenth notes its difficult for us to stay together as an orchestra. Personally I need to remember to accent. This is important because otherwise the song will sound "blah".
Ahlan: In this piece the primary issue is counting. As an orchestra it is important for us to stay together, and if we don't the song will fall apart. Personally I have to remember not to rush the pizzicato and stay on beat, especially in measures 20 and 21.
All of the pieces need dynamics but individually:
ReplyDeleteFantasia: The viola melody was very quiet, so either the violas need to be louder, or the other parts need to be softer. Also, much of the song sounds shy so play more comfortably (so louder maybe?)
Mabel: In the col legno I noticed when we switched back to arco, there was a bunch of in between noise. A change in bow hold (tilt it?) would be sufficient. Also, within the main rhythm of the piece, the notes should be a bit more defined. And the "relief notes" I guess you could call them, should be played out to be more noticeable.
Ahlan: The beginning could use a more legato feel to it, so use the entire bow. Also use vibrato (the ones that know how) and for the rest of the piece make the notes defined, as they were washed out in the recording.
Thailand: Need to fix on dynamics,articulation, and the rests. Also we need to take this matter at home also with practice. This may be a difficult piece but we may be victorious with just a little practice in the right areas.
ReplyDeleteAhlan: We need to work on our dynamics for sure we played the same almost the entire time also intonation did not settle as a factor for us, also, we rushed the pizzacato villons were going to fast.
Fantasia: The 2nd violins did not play loud enough. We lack confidence because we think th we are playing the wrong not but we are not we just have to realize that and we have that part down. Also the violin melody was very quite. We may have some issues but there is nothing that a good practice wont be able to fix.
Thailand: I think that some of the eighth note and the doubled eighth note parts need to be worked on. We don't fully know the notes and when we do come across them are tempo slows down until we can catch up at a quarter note. Also, the ending needs way more counting. Thailand is already harder because of the 9-10 tempo changes and going from slow quarter notes to sixteenth notes can be hard but a little work can solve that problem.
ReplyDeleteMabel Creek: First, the 2nd violins are barely audible, and we need to play extra loud even if it says piano because our forte sounds like crickets. Also, the violins (or mostly the 2nds) have the most repetitive and boring rhythm that can cause some of us to wander off and we lose our place in the music. BUT I found a little trick to find your spot in of you ever get lost. For example, when we start the col legno, the cellos and basses don't start to play until measure 25 the first boxed number after the col legno. Then, they play until a whole measure of resting which is at the next boxed number, measure 33. I didn't realize this until I listened to the recording. At measure 61, the tempo changes and we need to slow down....waaayyyy down. But the quarter notes sound really shaky. Still maintain the piano dynamic but sound more sure of ourselves especially in measure 86 when we have the 3 notes. the dynamic marking is ppp. The notes are correct we just need to be confident in those three notes and the fermata.
Ahlan Sabaya: When the seconds and the first violins come in on measure 3, we need to sound like we know which piece of music we're looking at. The vibrato part is important in measure 9 or else it wouldn't be in the music. Everyone should know hos to do vibrato anyways and that includes me because I don't know how but I will practice it because I'm pretty sure Mrs.Bawcum is going to give us a playing test on that part as well. From 22-25, I think that our counting was a liitle off because we wanted to follow what the section next to us was doing. Measure 43 needs to be counted so that we don't only here the sixteenth notes and then the quarter note towards the end of the measure.
Overall, we need to play with more confidence and be sure of the notes that we are playing. Pay attention to the dynamics when they come up in the music. That way we can tell who has the melody and who has the harmony. For me, I like to listen to the professional recordings so that way I'll know how louder or how soft to play measures of the music.
Kennedy Baker
DeleteThailand: I need to work on intonation and playing louder during the parts where violas have the melody in measures 50-76. I also will work making my dynamics more dramatic and my bowing more articulate. Working hard on this piece in this class will be the most productive way to be accurate as a big issue is balance.
ReplyDeleteMaple Creek: This piece needs work with the repetitive patterns played by improving bowing articulation. Also, I need to work on dynamics in measures 61-88. Slight intonation work could also help.
Ahlan Sabaya Alfarah: Well obviously we need to work on measures 48-50, but I need to work on dynamics in this piece and also the bowing patterns and articulation. I think most of this can be solved at home with a good metronome app and some free time. Also, I need to work specifically on 46 and 47, both in tempo and in intonation (and honeslt intonation for the entire piece).
Most all of the issues with these songs can be fixed with practice at home and rehearsal time at school used well and efficiently.
|Brooklyn C.
Thailand- I believe that most of the problems in this piece have to do with intonation. The violas play a lot of F#'s when they should be naturals. It throws off the entire theme of the song. Also, in the pizz. part, (77-96) it sounds decent, but I can barely hear the violins. The lower strings should probably take their dynamics down a notch. These problems can mainly be fixed by playing an A minor/ C major scales, and practicing balance in class, as a class.
ReplyDeleteMaple Creek: We definitely all need to make sure we get the bowing down as this song is EXTREMELY repetitive. The part that sticks out to me is from 61 to 88. This is a very beautiful part of the piece and it could be really dramatic and pizzaz-led (if you will) if we brought in strong dynamics and maybe even added some vibrato. While vibrato is something to work on at home, we need to work together as a class on bowing and dynamics.
Ahlan Sabaya Alfarah- An important part of this piece is the vibrato that is mentioned in measures 1 and 9. The vibrato could easily bring a lovely theme to the piece. It's already really mysterious and we could make it even more so. In measures 34-45, us violas have double stops. This could easily be worked on at home. Especially, when we switch from one note to another on both the D and A strings. Lastly, I think Brooklyn and I definitely need to work on our duet solo thing, to make sure it is in tune, and follow with the knocking on the instrument accurately.
Sarah Smith
Thailand: In this piece I think we should mostly be worried about dynamics and articulstion . In my opinion when we play our music I don't really think we put our all into dynamics and if we payed attention to them in this piece its going to sound so good! For example in measure one I think we should. Practice coming in piano and do a cresendo I think it would have a overall effect.in measures 33-40 we need to work on making those notes more clearer and use shorter bows.
ReplyDeleteMable Creek Overture: the main thing about this piece is we need to really make sure we have all of our bowings together. From measures 53-60 we really need to pay attention to dynamic markings so we can make sure the crowd actually hears the melody. The only other thing I can say with this song is to make sure we play all 4th fingers.
Alhan Sabaya Alfarah: This piece is fairly easy and I couldn't really hear a lot of things wrong with it but like the rest we need to pay attention to dynamics and just make sure we are counting the measures.
-Kiera McGhee
Thailand- we need to play louder and do more of the dynamics. also basses and cellos need to play together and be on time for measures 7-14. i need to work on 39-43 because i always get lost in this section. I am going to slow down my pace and then work up to the real tempo. also i need to work on the time signature changes from 4/4 to 3/4.
ReplyDeleteMabel creek- we need to be louder and do more dynamics. also to do the repeat signs and go to the coda on time and all together. I need to work on measure 69-77 because i don't hold that note long enough. otherwise it sounds good.
Ahlan- you can not hear the basses at all and we all need to be more confident playing this piece. also counting measure in coming in early is a big thing too. this piece will be super easy to fix because it does not sound that bad. with all the class time and at home practice this one will sound perfect.
- makaela woytek
Thailand: I need to work on intonation and accurate bowing ( there's a lot of bow lifting). The seconds should also start playing towards the middle of the bow in measures 38-39. I need to pay more attention when the tempo changes. Measures 127- 140 REALLY need some work!
ReplyDeleteMaple Creek: This is a very repetitive piece for the second violins. I need to start counting and actually paying attention because my mind wonders off (oops).
Ahlan: We need to work on the dynamics in this piece. We also need to work on measures 48- 57. Vibrato is a must at the beginning of this piece, especially in measures 9-10 (too many half and whole notes).
-kayla ellis-
ReplyDeletethailand: i need to work on articulation n makin sure i do up bow, adjust to the tempo changes like in the beginning to measure 50, work on my dynamics and count in measures 44-47.
Mabel creek: need to stay steady while playing the same notes,seconds need to play louder n stagger my bow from dif direction than stand partner.
Ahlan Sabaya: we need to start off strong, stay together n i need to work on my intonation/ dynamics n accents.